DOCSLIB.ORG

Essential Dominant 7Th Chords for Jazz Guitar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Essential Dominant 7th Chords For Jazz Guitar Learning how to play dominant 7th chords can seem like a tough task for any guitarist tackling these essential jazz guitar chords. Compared to other chord shapes, dominant 7th chords have many different variations that you can explore in your playing. While these variations add color to your comping, chord soloing, and chord melody playing, they also make it difficult to memorize all these chord shapes. In this lesson, you’ll learn how to use two shapes, the m7b5 chord and maj7#11 chord, to create 9th, 13th, and two variations of 7alt chords in your playing. By using chords you already know to create new dominant 7th chords, you’ll keep your practice time to a minimum as you expand your 7th chord palette. If you’re new to these concepts, and to applying one chord over another in general, take your time with each section of this lesson. There’s no rush to work all four of these harmonic concepts in your studies. Go slow, become comfortable with each concept one at a time, and before you know it you’ll be playing cool sounding, dominant 7th chords over your favorite tunes. Free Jazz Guitar eBook: Download the beginner’s guide to jazz guitar that’ll teach you how to play jazz chord progressions, solo over jazz chords, and walk basslines. 9th Chord Shapes The first dominant 7th chord variation that you’ll explore is the 9th chord. This common chord sounds great when playing in a blues context, or over the V7 chord in a ii V I, and is an essential sound for any jazz guitarist to learn. While it’s essential, the five notes needed to sound this chord can become bulky and hard to master when applied to the fretboard. To make things easier, you’ll use the m7b5 chord shape to create 9th chords in your playing. To do so, you’ll play a m7b5 chord from the 3rd of any 7th chord to create a rootless 9th chord sound on the guitar. Here’s how that works on paper to see the relationship between those two chords. G9 = G B D F A Bm7b5 = B D F A As you can see, if you remove the root of a G9 chord, you’re left with a Bm7b5 chord. Here’s how that looks on the fretboard so you can see and hear this concept in action. Click to hear G9 Chord Shapes 1 Here are those same two chords, but now with the root of the Bm7b5 labeled so you can see that they’re the same shape, but produce different sounds with a new root. Click to hear G9 Chord Shapes 2 With the above chord shapes under your fingers, and in your ears, you’re ready to take these shapes to musical situations in your studies. Here are three comping phrases that you can learn, work on in 12 keys, and apply to your playing over tunes. There are also backing tracks included that you can use to practice these phrases, as well as work on applying your own shapes to these changes in the woodshed. In this first example, you’ll use the Bm7b5 chord shape to sound a G9 chord over a short turnaround progression in C major. Backing Track ii V I C Short Backing Track Click to hear Dominant Chord Licks 1 Moving on, you’ll use two different Bm7b5 chord shapes to create movement and a G9 sound over the V7 chord in this longer, ii V I in C major. Backing Track ii V I C Long Backing Track Click to hear Dominant Chord Licks 2 The final example in this section uses both Bm7b5 and Em7b5 so create G9 and C9 sound over the first four bars of a G blues chord progression. Backing Track G Blues Backing Click to hear Dominant Chord Licks 3 7(b9,b13) Chord Shapes You’re now going to learn one of the best shortcuts to comping over dominant 7th chords that you can easily apply to your playing. As you learned in the previous section, you were able to play a m7b5 chord from the 3rd of any 7th chord to create a rootless 9th sound. Now, you’ll use the same chord type, m7b5, but this time from the 7th of the dominant chord to create a 7(b9,b13) sound. Here’s why that works so you can see the relationship between the two chords. G7(b9,b13) = G B D F Ab Eb Fm7b5 = F Ab B Eb Here’s that theory on the guitar so you can hear and see how it sounds over a G root note in your playing. Click to hear G7b9b13 Chord Shape 1 As well, you can see the Fm7b5 bass note labeled next to the G7alt sound in order to compare the two on the guitar. Click to hear G7b9b13 Chord Shapes 2 As you can see, Fm7b5 contains the 3rd, b7th, b9th, and b13th of the G7 chord. This means that if you play a m7b5 chord from the 3rd of a dominant 7th chord you create an “inside” sound, the 9th, and from the b7th you create and “outside” sound. Same shape, two different chords depending on where you apply that shape over the underlying chord. You can now practice applying these jazz guitar chord shapes to practical, musical progressions. In the following three examples, you’ll study ways that you can use the m7b5 chord to create a 7alt sound over dominant chords in your comping. There are also backing tracks included with each sample phrase so that you can work on using your own chord shapes over these progressions. The first sample phrase uses a Dm7b5 chord to create an E7(b9,b13) sound over the V7alt chord in a short ii V I in A minor. Backing Track ii V I Am Short Backing Track Click to hear Dominant Chord Licks 4 In the next progression, you’ll use a common variation of the Dm7b5 chord, the Dm11b5 chord shape, to outline the E7alt chord in the phrase. You’ll see this Dm11b5 chord shape in the first half of the second bar, where the 11th, G, is the #9 of the E7alt chord. This note, the #9, adds yet another color to your harmonic palette when comping over dominant chords, and one you should explore further in your studies. Backing Track ii V I Am Long Backing Track Click to hear Dominant Chord Licks 5 In this final phrase, you’ll use an Fm7b5 chord to create a G7alt sound over the V7 chord in a major ii V I progression in C. When comping in a major key, you can use a V7alt sound to create tension over that section of the progression. As long as you resolve that tension, as you are in this example, then that 7alt sound will be appropriate. If you don’t resolve the tension, that same chord can sound like a mistake. Make sure that you work as much on resolving any tension you create as the tension chord itself in order to avoid any issues on the bandstand. Backing Track ii V I C Long Backing Track Click to hear Dominant Chord Licks 6 13th Chord Shapes In the next two section of this lesson you’ll apply a maj7#11 chord shape to two notes of any 7th chord to create an inside and outside chord sound. To create the inside sound, you’ll play a maj7#11 chord from the b7 of any dominant 7th chord you’re comping over. Here’s how that works from a theory perspective. G13 = G B D F A C E Fmaj7#11 = F A B E And here are those two shapes on the fretboard so you can compare them over the bass note. Click to hear G13 Chord Shapes 1 Here are those same two chords with the Fmaj7#11 bass note labeled so you can see how it’s used to create this new sound over a G bass note. Click to hear G13 Chord Shapes 2 As you can see, the Fmaj7#11 chord outlines the b7, 9, 3, and 13th intervals of the G7 chord. With these 13th shapes under your fingers, you can now take these chords to practical progressions as you expand upon them in the woodshed. Here are three examples of 13th chords in musical situations that you can learn and practice in different keys. There are also backing tracks with each example so you can practice comping over these chord progressions with your own chord shapes. The first example uses an Fmaj7#11 to create a G13 sound over the V7 chord in a quick turnaround progression in the key of C major. Backing Track ii V I C Short Backing Track Click to hear Dominant Chord Licks 7 In the next phrase, you’ll play an Fmaj7#11 chord over G7 to create a V13 sound in a longer ii V I in C major. Backing Track ii V I C Long Backing Track Click to hear Dominant Chord Licks 8 The final phrase lays down a simple rhythm, quarter notes, as you use the Fmaj7#11 shape to sound a G13 chord in the first four bars of a G blues progression. Sometimes playing a simple rhythm like quarter notes is just what your comping needs to lay the perfect foundation for the soloist. Don’t be afraid to keep things simple rhythmically in your comping from time to time, then become more adventurous when the time is right.
Recommended publications
  • Common Jazz Chord Symbols Here I Use the More Explicit Abbreviation 'Maj7' for Major Seventh

    Common Jazz Chord Symbols Here I Use the More Explicit Abbreviation 'Maj7' for Major Seventh

    Common jazz chord symbols Here I use the more explicit abbreviation 'maj7' for major seventh. Other common abbreviations include: C² C²7 CMA7 and CM7. Here I use the abbreviation 'm7' for minor seventh. Other common abbreviations include: C- C-7 Cmi7 and Cmin7. The variations given for Major 6th, Major 7th, Dominant 7th, basic altered dominant and minor 7th chords in the first five systems are essentially interchangeable, in other words, the 'color tones' shown added to these chords (9 and 13 on major and dominant seventh chords, 9, 13 and 11 on minor seventh chords) are commonly added even when not included in a chord symbol. For example, a chord notated Cmaj7 is often played with an added 6th and/or 9th, etc. Note that the 11th is not one of the basic color tones added to major and dominant 7th chords. Only #11 is added to these chords, which implies a different scale (lydian rather than major on maj7, lydian dominant rather than the 'seventh scale' on dominant 7th chords.) Although color tones above the seventh are sometimes added to the m7b5 chord, this chord is shown here without color tones, as it is often played without them, especially when a more basic approach is being taken to the minor ii-V-I. Note that the abbreviations Cmaj9, Cmaj13, C9, C13, Cm9 and Cm13 imply that the seventh is included. Major triad Major 6th chords C C6 C% w ww & w w w Major 7th chords (basic structure: root, 3rd, 5th and 7th of root's major scale) 4 CŒ„Š7 CŒ„Š9 CŒ„Š13 w w w w & w w w Dominant seventh chords (basic structure: root, 3rd, 5th and b7 of root's major scale) 7 C7 C9 C13 w bw bw bw & w w w basic altered dominant 7th chords 10 C7(b9) C7(#5) (aka C7+5 or C+7) C7[äÁ] bbw bw b bw & w # w # w Minor 7 flat 5, aka 'half diminished' fully diminished Minor seventh chords (root, b3, b5, b7).
  • Naming a Chord Once You Know the Common Names of the Intervals, the Naming of Chords Is a Little Less Daunting

    Naming a Chord Once You Know the Common Names of the Intervals, the Naming of Chords Is a Little Less Daunting

    Naming a Chord Once you know the common names of the intervals, the naming of chords is a little less daunting. Still, there are a few conventions and short-hand terms that many musicians use, that may be confusing at times. A few terms are used throughout the maze of chord names, and it is good to know what they refer to: Major / Minor – a “minor” note is one half step below the “major.” When naming intervals, all but the “perfect” intervals (1,4, 5, 8) are either major or minor. Generally if neither word is used, major is assumed, unless the situation is obvious. However, when used in naming extended chords, the word “minor” usually is reserved to indicate that the third of the triad is flatted. The word “major” is reserved to designate the major seventh interval as opposed to the minor or dominant seventh. It is assumed that the third is major, unless the word “minor” is said, right after the letter name of the chord. Similarly, in a seventh chord, the seventh interval is assumed to be a minor seventh (aka “dominant seventh), unless the word “major” comes right before the word “seventh.” Thus a common “C7” would mean a C major triad with a dominant seventh (CEGBb) While a “Cmaj7” (or CM7) would mean a C major triad with the major seventh interval added (CEGB), And a “Cmin7” (or Cm7) would mean a C minor triad with a dominant seventh interval added (CEbGBb) The dissonant “Cm(M7)” – “C minor major seventh” is fairly uncommon outside of modern jazz: it would mean a C minor triad with the major seventh interval added (CEbGB) Suspended – To suspend a note would mean to raise it up a half step.
  • Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I

    Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I

    Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or ​ ​ jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor.
  • Easy Jazz Guitar Progressions

    Easy Jazz Guitar Progressions

    Easy Jazz Guitar Progressions 12 Essential Progressions for Jazz Guitar Written By: Matthew Warnock Published By: Guitar for Life LLC Copyright 2017 Guitar for Life LLC mattwarnockguitar.com 2 Table of Contents How to Use This eBook Introduction to Chord Progressions Major ii V I Progression Minor ii V I Progression Major I VI ii V Progression Minor I bIII ii V Progression Mixed ii V I 1 Progression Mixed ii V I 2 Progressions Backdoor ii V Progression Take the A Train Rhythm Changes Bridge Turnaround to the iim7 Chord IVmaj7 to Imaj7 Turnaround Minor Cliché mattwarnockguitar.com 3 How to Use This eBook Before you dive into this material, take a minute to learn how to get the most out of this eBook in your practice routine. The first thing to know, is that jazz progressions are not usually thought of as “easy” as the book’s title suggests. But, with the right practice approach, you can make any progression sound easy in your comping and soloing. By understanding their construction, and working fun and essential exercises, any jazz progression can be easy to outline in your playing. The material in this eBook does just this, breaks down seemingly difficult progressions into easy to understand concepts. Doing so builds your confidence and allows you to outline any of these progressions in jazz standards with ease. When learning any progression in this eBook, work it in the following ways to get the most out of your practice time. Ø Learn the chords in the given key. Ø Work those chords over the backing track.
  • Constructing Jazz Lines. Taxonomy, Vocabulary, Grammar

    Constructing Jazz Lines. Taxonomy, Vocabulary, Grammar

    Die internationale Jazzforschung hat sich in den vergangenen Jahrzehnten zahlreiche neue Fragestellungen und Forschungsan- sätze erschlossen. Die dreizehn Beiträge des Tagungsbandes wid- Jazzforschung heute. men sich Themen, Methoden und Desideraten der gegenwärtigen wissenschaftlichen Auseinandersetzung mit dem Jazz. Zudem werden Perspektiven des künstlerischen Forschens im Jazz und Martin Pfleiderer (Jg. 1967) studierte Musikwissenschaft, der Ausbildung von Jazzmusikern und -forschern diskutiert. Philosophie und Soziologie. Seit 2009 lehrt er Geschichte des Jazz und der populären Musik am Institut für Musik- wissenschaft Weimar-Jena. Er hat zahlreiche Aufsätze zum Lorem ipsumThemen, dolor sit amet, consectetur adipisici elit, sed eiusmodMethoden, Perspektiven Jazz veröffentlicht und ist darüber hinaus als Jazzsaxopho- tempor incidunt ut labore et dolore magna aliqua. Ut enim ad minim nist aktiv. veniam, quis nostrud exercitation ullamco laboris nisi ut aliquid ex ea commodi consequat. Quis aute iure reprehenderit in voluptate velit Jazzforschung heute esse cillum dolore eu fugiat nulla pariatur. Excepteur sint obcaecat cu- piditat non proident, sunt in culpa qui officia deserunt mollit anim id Wolf-Georg Zaddach (Jg. 1985) studierte Musikwissen- est laborum. schaft, Kulturmanagement und Neuere Geschichte in Weimar/Jena sowie Musikmanagement und Jazzgitarre in Lorem ipsum dolor sit amet, consectetur adipisici elit, sed eiusmod Prag. Er lehrt seit 2011 am Institut für Musikwissenschaft (Hg.) tempor incidunt ut labore et dolore magna aliqua. Ut enim ad minim Weimar-Jena sowie seit 2017 am British and Irish Modern herausgegeben von Martin Pfleiderer veniam, quis nostrud exercitation ullamco laboris nisi ut aliquid ex ea Music Institute Berlin. 2018 wurde er mit einer Doktor- commodi consequat. Quis aute iure reprehenderit in voluptate velit arbeit über Heavy Metal in der DDR promoviert.
  • Affordant Chord Transitions in Selected Guitar-Driven Popular Music

    Affordant Chord Transitions in Selected Guitar-Driven Popular Music

    Affordant Chord Transitions in Selected Guitar-Driven Popular Music Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Gary Yim, B.Mus. Graduate Program in Music The Ohio State University 2011 Thesis Committee: David Huron, Advisor Marc Ainger Graeme Boone Copyright by Gary Yim 2011 Abstract It is proposed that two different harmonic systems govern the sequences of chords in popular music: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor chords and chord transitions based on a chord's harmonic function within a key. A corpus analysis is used to compare the two harmonic systems in influencing chord transitions, by encoding each song in two different ways. Songs in the corpus are encoded with their absolute chord names (such as “Cm”) to best represent affordant factors in the chord transitions. These same songs are also encoded with their Roman numerals to represent functional factors in the chord transitions. The total entropy within the corpus for both encodings are calculated, and it is argued that the encoding with the lower entropy value corresponds with a harmonic system that more greatly influences the chord transitions. It is predicted that affordant chord transitions play a greater role than functional harmony, and therefore a lower entropy value for the letter-name encoding is expected. But, contrary to expectations, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the hypothesis that affordant chord transitions play a greater role than functional chord transitions.
  • A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum

    A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum

    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum Alexis Joy Smerdon University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Education Commons, Music Pedagogy Commons, and the Music Theory Commons Recommended Citation Smerdon, Alexis Joy, "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4076 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Alexis Joy Smerdon entitled "A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Barbara A. Murphy, Major Professor We have read this thesis and recommend its acceptance: Kenneth Stephenson, Alex van Duuren Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Proposal for the Inclusion of Jazz Theory Topics in the Undergraduate Music Theory Curriculum A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Alexis Joy Smerdon August 2016 ii Copyright © 2016 by Alexis Joy Smerdon All rights reserved.
  • Essential Single Octave Arpeggios

    Essential Single Octave Arpeggios

    TERENCE WRIGHT GUITAR Jazz Guitarist - Music Educator - Composer http://terencewrightguitar.com Essential Single Octave Arpeggios In order to get the most out of single octave arpeggios on the guitar, it is important to understand why they are played the way they are. In a seventh chord, there are four unique notes: Root – third – fifth – seventh Depending on the type of seventh chord, the third, fifth and seventh may be altered. Keeping in mind that there are four notes in a given seventh chord and arpeggio, we can then take a look at the possible ways they can be played. This lesson will cover some of the more practical ways of performing seventh chord arpeggios. Due to playability and sound, seventh chord arpeggios played over three strings are far more widely used than others. This lesson will go into detail about the three ways to perform single octave arpeggios over three strings. If you are curious about lesser known seventh chord arpeggio approaches, such as arpeggios played over 1, 2 or 4 strings, check out the Approaches to Arpeggios page in the Jazz Guitar Resource Library. First lets take a look at the different options for playing arpeggios over three strings: 2-1-1 Arpeggio - The 2-1-1 stands for the distribution of notes across the guitar. The 2 means that you will be playing 2 notes on the string that the given arpeggio begins on, followed by 1 note on the next highest string, and 1 note on the next highest string after that. 1-2-1 Arpeggio - The numbers here represent the same idea as the previous arpeggio, but the distribution is slightly different.
  • Guitar Chord Chart – Learn ALL Chords in ALL Keys

    Guitar Chord Chart – Learn ALL Chords in ALL Keys

    Guitar Chord Chart – Learn ALL Chords In ALL Keys In this guide you will find: 60 essential guitar chords which will make you sound amazing. The secret to learning chords quickly. 2 quick and easy tips which will help you read a guitar chord chart. There are 5 main chord types, these are: Major Minor Dominant 7th Minor 7th Major 7th You learn easy versions of these chords here: 14 Easy Guitar Chords For Beginners For today’s lesson, you will learn each of those chords in ALL 12 keys, those keys are: A Bb B C C# D Eb E F F# G G# Hold on tight, this guide will blow your mind! The Major Chord The major chord is one of the most commonly used chords in music. It’s essential that you know how to play a major chord. Major chords sound happy and vibrant. This chord can be heard ALL over music, but is specifically used in pop and country music. Here’s the major guitar chord chart in ALL 12 keys: A Major If you don’t understand how to read this image, go to this article: How To Read Guitar Chords: An Essential Guide Bb Major B Major C Major C# Major D Major (If you don't understand the above image please read our article "How To Read Guitar Chordboxes In 60 Seconds". It will make everything clear!) . Eb Major E Major F Major F# Major G Major G# Major The Minor Chord The minor chord is one of the most popular guitar chords.
  • Tension Chart

    Tension Chart

    Tensions by Mark White © Whitmark Music Publishing Tensions, also known as extensions, upper register triads, and various other titles regionally, are the color tones added to chords to give them modern harmonic flavor. Tensions have an air of mystique about them. They are regarded by many younger players as complicated, mystical, and knowledge unatainable, except by selling your soul to the devil! Maybe not even then! The good news is that this information is easy to understand, and you can implement it right away. You will be able to construct any type of "advanced jazz" chord without consulting the venerable Elvin Scmork's 1,675,001 chord grips book for all occasions (including mystical jazz chords for Satanic rites and Bebop applications). Of course, the other side of the coin is that you're going to pay some dues to really get inside this stuff ! I'm going to approach this from a guitarist's application, but vibists, pianists, etc. can apply this info, too. Lets start out by defining what a tension is: A TENSION IS A TONE THAT ADDS COLOR AND TENSION (DISCORD) TO A CHORD WITHOUT CONFUSING THE QUALITY OF THE CHORD. This simply means that you embellish, make sound more modern, etc., but still recognize the chord as being major, dom 7, minor 7b5, or whatever. Probably the best way to study the use of tensions is by period. As I'm primarily a jazz player, I'm talking about periods in jazz history, and there is, of course, harmonic spillover from jazz into Pop, R&B, Soul, and other "commercial music" that you can learn a great deal from.
  • THE ULTIMATE GUITAR CHORD CHART II - by Phillip J Facoline Email- Pfacol@Elaine.Ee.Und.Ac.Za A7sus4

    THE ULTIMATE GUITAR CHORD CHART II - by Phillip J Facoline Email- [email protected] A7sus4

    THE ULTIMATE GUITAR CHORD CHART II - by Phillip J Facoline email- [email protected] A7sus4.... A9 A9sus Aadd9. Aadd9.. Aaug/D. Aaug/G. Adim 3 6 The .'s and ,'s after the chord name means that the chord is a duplicate or alternate formation. Ab Ab+ Ab/A. Ab/F. Ab/F.. Ab/Gb. Ab/Gb.. Ab11 Adim/Ab. Adim/E. Adim/F. Adim/F.. Adim/G. Adim/Gb. Adim7. Asus 4 8 4 4 3 Ab4 Ab5. Ab6. Ab6.. Ab7 Ab7.. Abdim Abdim/E. Asus.. Asus... Asus.... Asus2 Asus2.. Asus2... Asus2.... Asus2..... 4 8 4 5 Abdim/E.. Abdim/E... Abdim/Eb.. Abdim/F. Abdim/F.. Abdim/F... Abdim7. Abdim7.. Asus2/Ab. Asus2/C. Asus2/C.. Asus2/D. Asus2/D.. Asus2/Db. Asus2/Db.. Asus2/Eb. 5 6 Abdim7... Absus Absus. Absus2/F. Absus4 Abm Abm/D. Abm/E. Asus2/F. Asus2/G. Asus2/G.. Asus2/Gb. Asus2/Gb.. Asus4 Asus4/Ab. Asus4/B. 4 4 4 2 Abm/E.. Abm/E... Abm/Gb... Abm7 Abm7. Abmaj Abmaj7 Abmin Asus4/Bb. Asus4/C. Asus4/C.. Asus4/Db. Asus4/Db.. Asus4/F. Asus4/G. Asus4/G.. 4 4 4 4 5 6 Ab#5. A A+ A.. A... A..... A/Ab. A/B. Asus4/G... Asus4/Gb. Asus4/Gb.. Am Am(7#) Am(add9) Am.. Am... 2 5 4 5 A/B.. A/D A/D.... A/D..... A/D...... A/F# A/G# A/G. Am/B. Am/B.. Am/D. Am/D.. Am/Eb. Am/F. Am/F.. Am/F... 5 5 9 5 5 A/G.
  • Jazz Chord Types

    Jazz Chord Types

    4. THE INTERVALLIC SERIES How does one convey musical information to others? The most basic method is ostensive: you hum the melody to the other and say”Learn this!” Or you play it on an instrument. The other person picks it up by ear, or by actually playing it. Normally, however, musicians hand each other notated music to read. The information conveyed there would be “absolute” in the sense that note pitch, duration etc. will be unquestioned. An “E above middle C played for two beats” is nothing more or less than that particular musical event. There is another method, though, which while not incorporating any rhythmic elements, nonetheless serves to convey pitch information, and this is the intervallic method. Here, instead of describing music as e.g. “E, F, Ab,” one would say “E, then up a half step, up a minor third.” In other words, music as a vertical (chordal) or horizontal (melodic) distribution of notes is described in terms of intervals relative to a certain specified note. We will name that particular note the “1.” The intervallic method is central for the jazz vocabulary. A) INTERVAL NUMBERS AND NAMES FOR CHROMATIC 12-TONE SERIES · 1 (root) · b2 (flat second) · 2 (second) · b3 (flat third) · 3 (third) · 4 (fourth) · b5 (flatted fifth, tritone) · 5 (fifth) · #5, b6 (augmented fifth) · 6 (sixth) · b7 (flat seventh) · maj7, ∆7 (major seven) · “8”(octave above root; rarely used) IMPORTANT: For purposes of symbolizing, “7” will always refer to a “b7,” and major seven will be written as “maj7” or “ ∆7.” Intervallic functions are absolute with regard to tonal distinctions between the major and minor.